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Apesar da alardeada “morte do impresso” com as mídias digitais, este artigo investiga aspectos materiais em que a impressão sobre papel, mais especificamente nos chamados impressos efêmeros, ainda exerce uma potência de significação diferenciada. Esta investigação se baseia na análise material de técnicas comerciais de impressão colorida sobre papel, que se distinguem das técnicas de impressão de massa – mais especificamente a cromolitografia no século XIX e a risografia na atualidade –, ocupando territórios distintos no universo de bens colecionáveis: a guarda de patrimônio histórico por instituições públicas e a afirmação de estilo e identidade nas autopublicações de jovens artistas e designers. Discute-se ainda as diferenças na apreciação desses impressos através de mídias digitais ou do contato direto com amostras em papel.

Franz von Hauslab is regarded as innovator of chromolithography in cartography and as originator of the principle of ‘the higher, the darker’ in the monochrome and polychrome design of height layer...

The article considers the role of foreigners in the publishing business of Moscow in the last third of the 19th - early 20th century on the example of Moscow printers E.-C. A. Lissner and A.A. Levenson, whose ancestors came to Russia from Austria and Germany. The historio-graphical review showed that the history of Moscow publishing houses and foreign printers who arrived in Russia remains beyond the scope of the current scientifi c interest. There are analyzed the stages of the development of the publishing business, it features, printing fi ndings, the specifi cs of the book market.E.-C. A. Lissner and A.A. Levenson are the brightest fi gures in Russia in the fi eld of publishing. Starting from scratch, they were able to create unique typography, in which it was possible to produce multicolour hard products, phototype table, to improve engraving, chromolithography and colour photozincography. To perform these works, they attracted specialists who were able to develop and implement new ways of printing. E.-C. A. Lissner and A.A. Levenson collaborated with the best artists of Russia helping to implement the ideas of publishing quality printed products that contributed to the aesthetic education of readers. The article reveals the importance of the activities of the two publishers of German origin E.-C. A. Lissner and A. Levenson in the development of the Russian culture (literature and art) and the popularization of scientifi c knowledge. They laid new principles of publishing and printing of illustrations, created a new trend in book production. Their activities contributed to the opening of new names in literature and art, promotion of Russian printing technology and book production to both domestic and foreign markets, development of book art and improve-ment of printing.

The creation of the book The Butterflies of North America by William H. Edwards is traced in detail. Much new information is presented, derived mostly from Edwards' extensive correspondence. It was issued from 1868 to 1897 in three series (volumes) of 42 separate parts. The first volume was published by the American Entomological Society, while the second and third volumes were published by Houghton, Mifflin & Company under several different names. The 152 hand-colored lithographic plates were drawn by five artists: Shelly W. Denton, Edward A. Ketterer, Mary Peart, Daniel Wiest, and an unidentified artist under the supervision of John Cassin. Most of the resulting prints were colored by sisters Lavinia (Lydia) Bowen and Patience D. Leslie, though many additional colorists were involved. Four plates were replaced after publication; the originals and their replacements are figured together for the first time. The first volume included a synopsis of species, which Edwards intended to revise in the second volume, but abandoned in favor of a simple list of taxa. Severe monetary constraints forced Edwards to sell his butterfly collection to help finance the third volume. Complete copies of the first and second volumes were assembled and sold for many years. Revised citations are proposed for each volume and their associated publications. New biographical information about Mary Peart is provided, including her portrait.

From the spread of Renaissance humanist ideas and expansion of universities to the Reformation and the emergence of the bourgeois public sphere, the impact of the printing press on Western society ...

This paper explores the emergence of art education in the USA in the late nineteenth century. Focusing on the issue of colour perception, it traces the aesthetic tropes shared between discussions of educating students' colour sensibilities and the concurrent clinical and literary experiments with synaesthesia. It then makes the case that early twentieth-century works of ‘visual music’ often combine the notion of synaesthesia with a pedagogical impulse to uplift the senses of the viewer. The paper thus follows two parallel trends in the nineteenth century (art education and experiments with synaesthesia) that converge in the twentieth century. This multi-threaded history is crucial for understanding the ways in which the sensual effects of colour were theorized and promoted in popular and modernist media – from the cinema to abstract painting – at the turn of the last century.

Combining images and text, marquillas cigarreras, the illustrated cigarette packaging produced in Cuba during the second half of the nineteenth century, depict a wide range of themes, including picaresque scenes of everyday life in Havana. These scenes adroitly map out the conditions of Cubanidad, or Cuban-ness. Although Cuba remained a Spanish colony until the War of Independence at the close of the nineteenth century, throughout the century Cuban nationalist sentiment rose, and cultural as well as industrial production was increasingly identified as a sign of Cuban, not Spanish provenance. Marquillas brought together the quintessentially Cuban natural resource, tobacco, and the state-of-the-art print technology, chromolithography, in a commodity that symbolically and materially represented the modern nation coming into being. In this article, I look at marquillas as sites for the production and dissemination of national identity. Particularly relevant to this are marquillas that depict scenes o...

The economic news of the 1980s was that Japan had begun to conquer America. The Aesthetic news of the 1880s was identical. This article will examine the use of Japanese design concepts, Japanese imagery, and references to Japan itself on American trade cards from 1875 to 1890. It is concerned with a now obsolete form of advertising-the trade card-and the use of visual references to a then unfamiliar and exotic culture in promoting products and services both nationally and locally.1 "From 1873 to 1898 excess capacity in the American economy was chronic and it afflicted virtually every industry...excess capacity to mill flour, to make watches, to manufacture stoves" (Ginger 55, 57). This was a period of declining prices, with major economic depressions in the years 1873-76, 1884, and 1893-97. During 1870s, with overproduction widespread, the goal of advertising began to change "from an emphasis on providing information to an attempt to influence buyers by any means possible" (Strasser 91). The trade card was the preferred method for obtaining publicity and generating good will from the time into the 1890s. Trade cards of the later nineteenth century are individual advertisements produced on lightweight card stock, ranging in size from about the dimensions of a modern business card to approximately those of a postcard. They are almost invariably illustrated, usually by chromolithography, on one side only. The verso, and often a space on the recto as well, was left blank for the user to have this own text added by letterpress or rubber stamp. Trade cards were produced in prodigious numbers, made possible by steam powered presses, and were intended for free distribution to the general public by merchants and manufacturers, in much the same way that bookshops give away bookmarks or restaurants offer free matches today. Because they were colorful and attractive they were collected and preserved-commonly in albums-and hundreds of thou- sands have survived, making this study possible. In the last quarter of the nineteenth century, manufacturers frequently offered their products without a developed advertising plan or definable set of marketing principles. They were only beginning to see the advantages of brand names, trademarks, and visual identities for their goods. An estimated 98 percent of all trade cards are of the "stock" variety-i.e., not custom-designed for the individual user-and thus the product or service advertised often has no relationship to the image on the card (Dilg: 1). An 1889 advertising manual recommended that "when ordering in quantities exceeding twenty thousand, little additional expense will permit the chromo being specially designed; but unless a very large number be desired, the so-called stock chromos will, considering the price, do as well" (Fowler, About Advertising and Printing 103).2 Trade cards are often unsigned by the lithographing companies that produced them, and their artists or designers are almost never identified (for an exception see Fig. 1).3 The cards were issued by lithographers both famous and obscure, as single or series designs (Fig. 2), and were usually sold to advertisers through agents or middlemen, including printers and stationery stores. They were even offered directly to collectors, who sometimes referred to them as picture cards. The use of trade cards declined markedly during the 1890s, their importance as an advertising medium eclipsed by the mass circulation magazines (Strasser 165; Jay 99-101). Fowler's Publicity, a one thousand page text on advertising produced in 1899, discusses everything from newspapers and periodicals to billboards and fence painting to samples and hand-bills, but makes no mention of the trade card. Its author, who commenced his career "at the beginning of art in commercial lithography," noted that by the late 1890s lithography was "almost exclusively confined to advertising [via posters] and illustrating the higher grade of books. …

W. D. Richmond's The Grammar of Lithography (1878) is a comprehensive and instructive work on the many varieties of lithography - with all their attendant materials and instruments - described and explained in practical terms for the active participant and the amateur enthusiast alike. Richmond's Grammar should also be understood as part of a wider movement of nineteenth-century industrial disclosure, where pockets of masterly knowledge previously available to apprentices and company employees alone were being made much more widely available through impartial manuals and guides. This noble cause was intended to bring down the walls of ignorance and trade secrecy and to foster an open atmosphere of mutual understanding. In the realm of lithography, Richmond's Grammar was the first treatise to achieve this. While the work forgoes any historical or overly theoretical discussion, it does provide an excellent example of practically oriented expertise in the graphic arts.

Review of: "Thomas Moran's West: Chromolithography, High Art, and Popular Taste," by Joni L. Kinsey.

Advertising posters and gurafikku dezain in Japan, 1854-1960. The world of commercial advertising was already well organised in Japan by the middle of the nineteenth century. The printed commercial forms most frequently to be found are bills for plays and other spectacles, advertising posters and tracts. They have the same format and use the same techniques and colours as the xylographic print (nishiki e). At the same time authors and publishers of prints began to engage in commercial publicity, destined for a bourgeois public rather than a popular one. Such commercial prints lasted longer than the traditional nishiki e prints, surviving up to about 1910. Lithography was introduced to Japan only in 1872, chromolithography and offset printing becoming more widespread from 1914. The Americans played a vital role in the introduction of these new techniques. The author of the present article looks at the parallel development of other advertising forms, with the rapid growth of the newspaper press from 1870 and the appearance of advertising agencies in Tokyo and Osaka. The products concerned were generally of western origin, and the styles of the advertising images tended to follow western graphic styles. Techniques of lithographic printing, called « applied drawing », were taught at the Tokyo Fine Arts school from 1896. From the 1920s, the poster gave rise to several aesthetic and social debates in Japan, whilst techniques improved thanks to the introduction of the HB process (colour photo-engraving). The author goes on to examine the principal events which mark the history of « artists’ posters » from 1925. In 1926 the activity was sufficiently professionalised for an association of commercial artists to be formed. The inspiration was still primarily of western origin and commercial artists tried to find ways of giving their creations the same status as traditional, fine art works. The expressions « design » and « graphic design » began to appear in Japan during the 1950s., Gossot Anne. L’affiche publicitaire et le gurafikku dezain au Japon (1854-1960). In: Histoire de l'art, N°24, 1993. Arts graphiques. pp. 79-91.

Plans, Sections, Elevations and Details of the Alhambra (1836–45) was a landmark work, both in the history of architectural books and in the development of colour printing. Owen Jones (1809–74) and the French architect Jules Goury (1803–34) spent six months surveying the Nasrid palace in 1834 and Jones was to make a return visit to Granada three years later to undertake further research. From its conception to final printing Jones’ Alhambra project took over a decade to complete. This work represented a huge investment in time and, of course, money, but its successful completion was to establish the name of Owen Jones as an authority upon Moorish architecture and as a pioneer in the new technique of chromolithographic printing (Fig. 1). Jones is probably best remembered today for his encyclopaedic Grammar of Ornament (1856) but, since Michael Darby drew attention to Jones’ predilection for Islamic architectural design, the Alhambra has increasingly been seen as an important contribution to the nineteenth-century taste for the Oriental. Many questions remain, however, regarding the production of this book. Using the evidence of important unpublished letters, this article investigates the circumstances behind Jones’ unusual sidestep into the role of printer.

The term “chromo,” a nickname for chromolithography, has come to be synonymous with anything that is “fake” or “cheap” or “false.” The period in America when chromolithography served as a popular technology for reproducing the likenesses of oil paintings and water colors was also the time of the Gilded Age, those decades between the Civil War and the start of the twentieth century, which opened with the scandals of the Grant administration and closed with America's needless involvement in a war with Spain. Historians have written of the cultural backsliding during these years as a retreat from the hey day of the New England writers of 1830–1860 and from the first generation of Hudson River painters. According to conventional wisdom, it was a time of Victorian excess in all the arts of design. It was a time when appearance, not fact or truth, held center stage. It was the time of the “chromo civilization,” as it is called.